艺术社会学视野下的展览制度初探--对迪基艺术制度理论困境的一种微观反思  

A Preliminary Study on Exhibition System under the View of Sociology of Art:A Micro-reflection on the Dilemma of Dickey's Institutional Theory of Art

作　　者：高宇 GAO Yu

机构地区：[1]南开大学文学院

出　　处：《当代美术家》2024年第5期19-33,共15页Contemporary Artists

摘　　要：为了恪守价值中立原则,迪基放弃了艺术制度的历史维度,而选择将其看作现成的、无须加以考量的惯例和语境。这种审美态度之后的全新“迷思”,便是迪基艺术制度理论的悖谬所在。本文以比格尔的艺术社会学为理论视野,以艺术制度框架的纽结点即展览为研究对象,首先阐明了艺术所处制度语境的社会历史建构、真实具体运作与文化权力关系,进而对展览概念的评价内涵和历史内涵进行了回溯和揭示。通过展览审视艺术制度的具体运作,本文尝试将一种艺术迷思对另一种的取代,阐述为新旧艺术制度的历史更迭,目的在于思考审美态度和艺术惯例“迷思之争”的破解方法。In order to abide by the principle of value neutrality,Dickie abandoned the historical dimension of the art institution,and chose to regard it as a readymade and unconsidered convention and context.This new"myth"after aesthetic attitude is the paradox of Dickie's institutional theory of art.Taking Bürger's sociology of art as the basic theoretical vision,and exhibition,the knot point of art institutional framework,as the research object,this paper first clarifies the socio-historical construction,real and specific operation as well as cultural power relations of the institutional context in which art is located,and then retrospects and reveals the evaluation and historical connotation of exhibition.By examining the specific operation of the art system through the exhibition,this paper attempts to interpret the substitution of one art myth for another as the historical change of the old and new art institution,aiming at thinking about the way to crack the"myth dispute"between aesthetic attitudes and artistic conventions.

关 键 词：乔治·迪基 艺术体制论 艺术社会学 展览制度 

分 类 号：J0-05[艺术—艺术理论]